In the present graphic design process, an artist typically uses a computer running a graphic design program to compose and edit the design. The design is stored as a graphical data file which is ultimately sent to an output process for display. In commercial design, the output process might include a preprint process followed by the process of printing itself. Depending on the particular medium, the printing process will vary. For example, the processes for printing cereal boxes, the sides of trucks, and brochures vary in their technical details and each imposes a different set of constraints.
Because the work of today's graphical designer involves computers, various printing processes, and numerous media, the creative artist is usually burdened with the task of combining the intuitive process of design with the analytical and technical knowledge of the computers and printing processes involved. For example, a designer may create very thin lines that cannot be reproduced due to the technical constraints of a particular printing processes. There are many other similar constraints that affect the printability of a design as well. For example, different printing processes have characteristic registration error tolerances, minimum printable color intensities, and minimum resolvable gaps between distinct graphical elements. Because these many constraints vary between different printing processes, keeping them all in mind is distracting to the creative process of the artist. Moreover, even if the graphical elements created by the artist are printable by the selected printing process, there may be small errors or undesirable features in the design that are easily overlooked. For example, a stroke forming the boundary of an object may have be partially covered by another object.
Consequently, a designer may produce a creative design that appears to be printable on the computer, but which may not, in fact, reproduce as intended when sent to the selected printing process. Or the design may print as intended in one printing process but not in another. Time and money are often spent printing such designs only to discover the mistakes after it is too late. On the other hand, it is time-consuming and detrimental to the creative process of design for the artist to check all the graphical elements of a design for conformity to the constraints of a particular printing process and make appropriate modifications.
In addition to design rules imposed by the medium or printing process, there are other types of rules that constrain the design of graphic art. For example, an artist producing many designs for a company advertisement may be constrained in the use of certain colors or fonts traditionally used by the company. The design of packages for a product line may also be constrained by certain design rules such as color and font. Other rules of design involve more general aesthetics. For example, there may be certain design rules for brochures that specify the balance of colors and the spacing of text. Such rules may be different for packaging or for annual reports or other applications.
There are specific legal rules that apply to certain package and advertisement designs. For example, cigarette packaging and advertisements are required by law to have warning labels having a certain minimum relative size. Certain alcohol labels have similar requirements. Food labels have requirements regarding ingredients, nutrients, and weight. Since these legal rules vary from country to country and product to product, the artist is burdened in the creative process.
Therefore, there has long been a need for a way to free the graphic design artist from the burdens of many complicated rules of various types which constrain the design. There is also a need to improve the efficiency of graphic design and reduce the problems and errors encountered due to the constraints imposed by printing processes, company styles, aesthetics, regulations and other design considerations.